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ROMAN CHURCH MOSAICS 

OF THE FIRST NINE CENTURIES 



WILLIAM WARNER BISHOP 

PRINCETOD^ UNIVERSITY 



Eeprinted from the American Journal of Archaeology, Second 
Series, Vol. X (1906), No. 3 



(Parson) 



< ../" 



American ScJ}ool (o 

of Claggtcal Studies 
in J^ome 



ROMAN CHURCH MOSAICS OF THE FIRST NINE 

CENTURIES 

WITH ESPECIAL KEGAKD TO THEIR POSITION IN THE CHURCHES 



There is literary evidence to show that the mosaic decora- 
tion of early Christian churches probably followed, if not a set 
scheme, at least a tradition as to subjects and their placing in 
the church. 1 It is intended in this paper to examine and classify 
the existing church mosaics of Rome and the immediate vicinity 
with a view to discovering what light the actual remains throw 
on the existence and history of this supposed traditional or con- 
ventional arrangement. The work has been limited to Roman 
mosaics originating before the close of the ninth century which 
are actually to be seen to-day, because (1) it is deemed wise to 
classif}^ and study the existing pictures before entering on the 
subject of the " lost mosaics," already covered by Miintz and 
other writers,^ and (2) the Roman mosaics up to the end of the 
ninth century exhibit a distinct local character in decided con- 
trast to the later works. 

The following churches in Rome contain mosaic pictures 
whose origin is before the year 900 A.D. : S. Agnese (Via 
Nomentana), Battistero Lateranense (Exedra di SS. Rufina e 
Secunda, Oratorio di S. Giovanni Evangelista, Cappella di S. 
Venanzio), S. Cecilia in Trastevere, SS. Cosma e Damiano, S. 
Costanza, S. Lorenzo in Agro Verano, S. Marco di Pallacine, 
S. Maria in Domnica, S. Maria Maggi6re, SS. Nereo ed Achilleo, 
S. Prassede, S. Pudenziana, S. Paolo fuori le mura, S. Pietro in 
Vincoli, S. Sabina, S. Stephano rotondo, and S. Teodoro. 

1 Cf. Kraus, Geschichte d. christlichen Kunst, I, pp. 383-389. 

2 Cf. De Rossi, Gio. Battista, Musaici cristiani . . . delle chiese di Boma^ 
Rome, 1899, 'Note bibliografiche sui musaici perduti/ 

Amei-ican Journal of Archaeology, Second Series. Journal of the 251 

Archaeolog-ical Institute of America, Vol. X (1906), No. 3. 



WITH THE COMPLIMENTS OF THE AUTHOR 



252 ' WILLIAM WARNEB BISHOP 

These mosaics fall into the following chronological order : 
Fourth century: S. Costanza (aisle), S. Pudenziana, Exedra di 

SS. Rufina e Secunda. 
Fifth century : Oratorio di S. Giovanni Evangelista in Batti- 
stero Lateranense, S. Maria Maggiore (triumphal arch and 
nave), S. Paolo fuori (arch), S. Sabina. 
Sixth century : SS. Cosma e Damiano, S. Lorenzo. 
Seventh century; S. Agnese, S. Pietro in Vincoli, S. Stefano 
rotondo, Cappella di S. Venanzio in Battistero Lateranense. 
Eighth century : S. Teodoro. 

Ninth century : S. Cecilia in Trastevere, S. Maria in Domnica, 
S. Marco, SS. Nereo ed Achilleo, S. Prassede. 
The mosaics are found in churches of the basilica type as 
well as in buildings of central construction. We may group 
the churches with regard to the parts on which mosaics are 
placed as follows : 

Mosaic as altar-piece : S. Pietro in Yincoli. 
Mosaics on interior walls : S. Sabina, Cappella di S. Zenone. 
Mosaics on walls of nave over the supporting columns : S. Maria 

Maggiore. 
Mosaics on triumphal arch : S. Maria Maggiore, S. Paolo fuori, 

S. Lorenzo fuori, S. Prassede. 
Mosaics on tribune arch and apse: .S. Venanzio, SS. Cosma e 

Damiano, S. Maria in Domnica, S. Prassede, S. Marco. 
Mosaic on tribune arch (apse mosaic destroyed): SS. Nereo ed 

Achilleo. 

Mosaics in apse only : S. Pudenziana, S. Agnese fuori, S. Teo- 
doro, S. Cecilia in Trastevere. 

Mosaics on minor apsidal vaultings or lunettes: S. Stefano 
rotondo, S. Costanza. 

Mosaics on lateral or central vaults : S. Costanza, S. Giovanni 
Evangelista, Cappella di S. Zenone. 
It should be noted in regard to the foregoing classification 

that reference is here made only to the mosaics coming within 

the limits specified at the beginning of this paper. Thus, 



ROMAN CHURCH MOSAICS 253 

S. Paolo fuori le Mura has mosaics on the tribune arch and apse, 
as well as elsewhere, but those on the triumphal arch alone date 
from our period. So also the mosaics in the apse of S. Maria 
Maggiore are later than the date set for our limit. S. Prassede 
is the only church presenting mosaics of this period on tri- 
umphal arch, tribune arch, and apse, and possesses also the 
highly decorated chapel of S. Zenone. 

From the above classification it will be seen that the existing 
Roman mosaics of this period of church mosaic decoration are 
nearly all in that part of the church toward which the eyes of 
the congregation would be directed at all great ceremonies ; 
that is, the triumphal and tribune arches and the apse. In one 
church only, S. Maria Maggiore, have the mosaics on the walls 
of the nave been preserved. Fagade and wall mosaics have, 
naturally enough, suffered more from time and the rebuilder 
than those of the apse and interior arches. Chapel mosaic 
decorations have generally disappeared with the building of 
newer chapels and the " systematization " of interior and ex- 
terior. Some of the smaller churches in all probability had 
mosaic pictures only on the tribune wall and apse.^ 

A description of the various mosaic pictures will enable us 
to classify the subjects depicted in them. I follow the order 
of the classification given before. 

1. S. Pietro in Vincoli.^ 

The only altar-piece of mosaic from our period is the figure 
of S. Stefano over the second altar from the entrance door in 
the left aisle of S. Pietro in Vincoli. The saint is represented 
about half of life size, and, contrary to the traditions of the 
painters, as an old and bearded man. Tlie work is dated 680 
A.D. and formed part of a votive altar erected in the nave of 
the church after the disastrous plague of that year. It was 
removed to its present position in 1576. 

1 S. Agnese, for instance. Cf. the notices in the Liher pontificalis under 
Symmachus (ed. Mommsen, 1898, p. 123), and especially Honorius (ihid. p. 174), 
who fecit absida eiusdem basilicae ex musibo. 

2 Cf. De Rossi, op. cit. tav. xx ; Garrucci, Storia delV arte cristiana, IV, 
tav. 275. 



254 



WILLIAM WAR WEB BISHOP 



2. S. Sabina.i (Fig. 1.) 

The only mosaic now preserved to us of the original decora- 
tions of this church is found on the interior of the rear wall 
over the famous carved doors of cypress wood. It dates, in all 
likelihood, from the time of the erection of the church, 425-432 
A.D. (De Rossi). The main part of the mosaic is a metrical 



T^JAfOSiOLIC 
GIM¥SAfiEXOaivTRr: 





1 




i' -"*-:. 


J 



Figure 1. — Mosaic in the Church of S. Sabina, Rome. 

inscription of seven lines in large letters of gold on a dark blue 
background. The inscription reads as follows : 

CVLMEN APOSTOLICVM CVM CAELESTINVS HABEEET 
PRIMVS ET IN TOTO FVLGERET EPISCOPVS OEBE 
HAEC QVAE MIRARIS FVNDAVIT PRESBITER VEBIS 
ILLYRICA DE GENTE PETRVS VIR NOMINE TANTO 
DIGNVS AB EXOBTV CHRISTI NVTRITVS IN AVLA 
PAVPEKIBVS LOCVPLES SIBI PAVPER QVI BONA VITAE 
PRAESENTIS FVGIENS MEEVIT SPERAEE FVTVEAM. 

At either end of the inscription are two full-length female 
figures, each holding an open book in the left hand and point- 
ing to its pages with the right. Beneath the one on the left is 
the inscription eclesia ex ciecvmcisione, and beneath the 
other, eclesia ex gentibvs. It should be noted that these 

1 Cf. De Eossi, op. cit. taV. xii ; Garrucci, op. cit. IV, tav. 210. 



BOMAN CHURCH MOSAICS 255 

figures are at either end of the inscription and subsidiary to it 
in the eyes of the designer, just as later the same idea of the 
double origin of the church is expressed by the two cities, 
Jerusalem and Bethlehem, which invariably occup}^ a position 
at the ends of a mosaic. The workmanship of this mosaic is 
remarkably good. 

Ciampini (^Vet. Monum. I, tab. xlvii) gives, in addition, a 
design extant in his time, (1690), all trace of which has now 
vanished. It is De Rossi's opinion that these lost mosaics 
belonged to the ninth century restoration of the church. It is 
very unfortunate that the other mosaics of this early and once 
highly decorated church have been lost. 

3. S. Maria Maggiore.^ 

The walls of the nave and the triumphal arch of this basilica 
contain mosaics of a date at least as early as the renovation of 
the church by Pope Sixtus III in 432 a.d. The apse mosaic 
dates from the thirteenth and the facade mosaic from the twelfth 
century. If the nave mosaics do not belong to the time of 
Liberius, founder of the basilica, they are supposed to be imi- 
tations of those he caused to be made in 355 a.d. Marked 
differences in style and execution, as well as architecturail 
considerations, have been urged as a reason for assigning to the 
mosaics of the nave an earlier date than that known for those 
of the arch, 432-440 a.d. 

The walls of the nave, above the architraves, are divided 
into a series of panels once decorated with mosaics. Only twenty- 
seven of these panels now have mosaics, twelve on the left 
and fifteen on the right side. Six panels have been destroyed 
by the building of the Borghese and Sixtine Chapels, and others 
are filled with modern paintings designed to imitate mosaics. 
On the left side, beginning at the high altar, we have scenes 
from the life of Abraham, Isaac, Jacob, and Esau. Eight of 
the twelve panels have two scenes, an upper and a lower, mak- 
ing twenty in all. The first three panels are occupied with 
1 Cf. De Rossi, op. cit. tav. vi-viii ; Garrucci, op. cit. IV, tav. 215-222. 



256 WILLIAM WARNER BISHOP 

Abraham's return from his victory over the three kings (Gen. 
xiv), his parting from Lot, and the visit of the three angels. 
The next panel containing a mosaic picture represents Isaac 
blessing Jacob. Five panels tell the fortunes of Jacob during 
his stay with Laban. The tenth gives the meeting of Jacob 
and Esau, while the eleventh and twelfth show the purchase of 
the land at Salem and the scenes resulting from the rape of 
Dinah. 

The panels on the right side begin with two picturing the 
presentation of Moses to Pharaoh's daughter, his training, 
marriage, and occupation as a shepherd. The three following 
are gone, but a codex in the Biblioteca Barberini ^ gives the 
designs. They represent Moses' return to Egypt, his demand 
before Pharaoh for the release of the Israelites, the command to 
prepare the Paschal lamb and the orders to depart, and the 
injunction to celebrate the Passover ever after. The sixth, one 
of the best, represents the passage of the Red Sea ; the seventh, 
the promise of flesh and the coming of the quails ; the eighth, 
Moses drawing water from the rock ; in the lower panel, the 
meeting with the Amalekites ; the ninth, the battle with the 
Amalekites ; the tenth, the return of the spies ; the eleventh, 
Moses presenting the Book of Deuteronomy to the Levites; 
below, the march to the Jordan ; while the twelfth gives the 
passage of the river and the departure of the spies for Jericho; 
the thirteenth and fourteenth are concerned with the capture 
of Jericho ; while the rest give incidents of Joshua's warfare 
against Ai and the Amorites. The interpretation of these 
scenes is not always clear. ^ Fifteen of the panels of this side, 
including those supplied from the Barberini codex, have two 
divisions. 

4. S. Maria Maggiore: Triumphal Arch.^ 

At the summit of this arch stands the inscription xystvs 
EPiscoPVS PLEBi DEI. It is the work of Pope Sixtus III, who 

1 Now transferred to the Vatican. 

2 I follow that given by Garrucci, op. cit. IV, pp. 17-30. 

3 Cf. De Rossi, op. cit. tav. v ; Garrucci, op. cit. IV, tav. 211-214. 



BOMAN CHURCH MOSAICS 257 

renewed the whole basilica in memory of the famous decision 
of the Council of Ephesus in 431. The scenes in the arch lie 
in four zones or fields, of which the upper one only extends 
completely across the top of the arch. In the centre of this 
upper zone is a richly ornamented throne on which stands a 
jewelled cross with a crown at its foot resting on a black cloth. 
The whole is surrounded by an aureole. The interpretation of 
the black cloth has been much disputed. It probably signifies 
death, while the superimposed cross and crown express triumph 
over death (De Rossi). At either side of the aureole stand 
SS. Peter and Paul, and above are the four symbols of the 
evangelists in the following order from left to right,i Luke, 
Matthew, Mark, John. In the same zone at the spectator's left, 
is depicted the Annunciation, in which Gabriel is accompanied 
by four other angels, and Zacharias stands before the temple. 
At the right is figured the meeting of Joseph, Mary, and the 
infant Jesus with Anna and Simeon before the temple. Origi- 
nally there was another scene at the right, of which one angel 
only remains. 

In the second zone at the left we have the Visit of the Magi. 
Jesus is represented seated on a throne, with the Virgin and 
another female figure seated at either side. At the right is 
a scene which is variously interpreted either as the dispute 
with the doctors and the meeting of the parents and son 
(G'arrucci), or as the reception of the holy family in Egypt as 
described in the apocryphal gospel of Matthew (Konkadoff, 
De Waal, De Rossi, Kraus). 

The third zone gives on the left Herod commanding the 
slaughter of the Innocents and on the right his reception of the 
Magi ; while beneath in the fourth zone are seen the two cities, 
Jerusalem at the left, and Bethlehem at the right. Originally 
there were six sheep, representing the faithful flock, under each 
of these cities. Five are still to be seen on the left side, but 
none remain on the right. 

1 In this paper the terms right and left are always used of objects at the right 
or left of the spectator. 



258 



WILLIAM WARNER BISHOP 



This arch is decorated with more crowded and complicated 
compositions than are found on the triumphal arches of other 
early Cliristian churches in Rome. Its age and good workman- 
ship make one wish that it were more easily examined. It 
should be noticed that all the scenes in this church are Biblical, 
with the exception of those in the higher zone of the arch, 
which may properly be termed symbolical. 

5. S. Paolo fuori le Mura: Triumphal Arch.^ (Fig. 2.) 

The mosaics of this arch have undergone many restorations. 

They were originally made at the suggestion and expense of the 




Figure 2. — Mosaics in the Church of S. Paolo fuori le Mura, Eome. 

empress Galla Placidia under Pope Leo the Great (440-461). 
But restorations in the ninth, twelfth, fourteenth, eighteenth, 
and nineteenth centuries have so changed the work that in all 
probability only the design remains of the original. For our 
purposes, however, this is sufficient. 

There are three zones. In the centre of the first and occupy- 
ing a part of the second, immediately above the summit of the 
1 De Rossi, op. cit. tav. xvi ; Garrucci, op. cit. IV, tav. 271. 



BOM AN CHURCH MOSAICS 259 

arch, is an enormous bust of Christ, with a nimbus and rays 
darting from the head. Above and at each side are the evan- 
gelistic symbols (order, Luke, Matthew, Mark, John). In the 
second zone are the four and twenty elders in white robes, offer- 
ing their crowns to the Christ. An angel kneels at each side 
of the bust of Christ. In the lowest zone are tall figures of 
S. Peter at the right, and S. Paul at the left. 
Above is the inscription in mosaic : 

TEODOSIVS CEPIT PERFECIT ONORIVS AVLAM 
DOCTORIS MYNDI SACRATAM CORPORE PAVLI. 

On the border of the arch an inscription in mosaic reads : 

PLACIDIAE PIA MENS OPERIS DECVS HOMINE PATERNI 
GAVDET PONTIFICIg STVDIO SPLENDERE LEONIS. 

In SS. Cosma e Damiano and S. Prassede we have the lead- 
ing features of this design repeated, while in S. Marco and 
S. Maria in Domnica, the two tall standing figures again 
appear in the corners of the arch. 

6. S. Lorenzo in Agro Verano : Triumphal Arch.^ (Fig. 3.) 
By the numerous alterations which this church has suffered 
the sole antique mosaic which it contains has entirely lost its 
original position. In the early church it was the front of the 
triumphal arch. Above the mosaic was an inscription which 
has been restored from manuscript evidence by De Rossi : 

DEMOYIT DOMTNVS TENEBRAS VT LVCE CREATA 
HIS QVONDAM LATEBRIS SIC MODO FVLGOR INEST 
ANGYSTOS ADITYS YEFERABILE CORPYS HABEBAT 
HYC YBI NYNC POPYLYM LONGIORE AYLA CAPIT 
ERYTA PLAKITIES PATYIT SYB MONTE RECISA 
ESTQYE REMOTA GRAYI MOLE RYINA MINAX 
PRAESYLE PEL AGIO MARTYR LAYRENTIYS OLIM 
TEMPLA SIBI STATYIT TAM PRETIOSA DARI 
MIRA FIDES GLADIOS HOSTILES INTER BT IRAS 
PONTIFICEM MERITIS HAEC CELEBRASSE SYIS 
TY MODO SANCTORYM CYI CRESCERE CONSTAT HONORES 
FAC SYB PACE COLI TECTA DICATA TIBI. 

1 Cf. De Rossi, op. cit. tav. xvi ; Garrucci, op. cit. lY, tav. 271. 



260 



WILLIAM WARNER BISHOP 



Two windows have been broken through at either end. 
They come immediately over the representations of Jerusalem 
and Bethlehem at the two lower corners. 

The scene is as follows : In the centre Christ is seated on a 
globe, holding a sceptre in his left hand and blessing with his 
right. A nimbus with the cross encircles his head. Two 




Figure 3. — Mosaic in the Church of S. Lorenzo in Agro Verano, Rome. 



groups of three persons each are at either side. Their names 
are w^ritten above their heads. At either side of Christ are 
SS. Peter and Paul, then the two martyred deacons, SS. 
Laurentius and Stephanus, holding open books, while at the 
left end Pope Pelagius presents the model of the basilica to 
Laurentius, and on the right S. Hippolytus, who was buried 
in the adjoining cemetery, holds out a jewelled crown. The 
two cities are below in the corners. 

On the border of the arch below the mosaic runs the inscrip- 
tion; 

MARTYRIVM FLAMMIS OLIM LEVVITA SVBTSTI 
IVRE TVIS TEMPLIS LYX BENERANDA REDIT. 



ROMAN CHURCH MOSAICS 261 

7. S. Prassede : Triumphal Akch.^ 

These mosaics, as well as those on the tribune wall and apse, 
were executed by order of Pope Paschal I (817-824), and bear 
his monogram. There are two zones, the field of the upper 
one extending completely across the church, while the lower 
one is divided by the arch. That there are only two zones is 
doubtless due to the small size of the church and consequently 
of the arch. 

In the centre of the upper field is depicted in a characteris- 
tically mediaeval fashion the New Jerusalem. In the very 
centre Christ stands between two angels, below whom are 
S. John the Baptist and the Virgin on one side, and S. Pras- 
sede on the other. The apostles, six on either side, appear in 
line with the last mentioned group, showing about half their 
figures above the golden battlements of the heavenly city. At 
the right and left hand are two figures symbolizing the Law 
and the Prophets, with an angel also on the right. Without 
the doors stand figures of SS. Peter and Paul, while a company 
of saints led by angels fill each end of the picture. The two 
lower parts of the arch are filled with a great company of the 
saints. The whole design is based on the twenty-first chapter 
of the Apocalypse. 

8. SS. Cosma e Damiano : Tribune Arch and Apse.2 
(Fig. 4.) 

The mosaics in this church are by far the best of those with 
which we have to do in point of beauty, design, and execution. 
They date from the time of Felix IV (526-530). The arch 
mosaics were seriously mutilated when Urban VIII (1623- 
1644) reduced the church to its present form, and the apse 
mosaics have been partially restored ; but despite these defects 
they are noteworthy monuments. 

In the centre of the arch above the apse Christ is represented 
by the Lamb, reposing on the throne with the book of the seven 

^ Cf. De Rossi, op. cit. tav. xxvi ; Garrucci, op. cit. IV, tav. 285. 
2 CI De Rossi, op. cit. tav. xv ; Garrucci, op. cit. IV, tav. 253. 



262 



WILLIAM WARNER BISHOP 



seals. The throne stands between seven candelabra on which are 
burning lamps. Four angels, two on each side, standing on the 
clouds, and the evangelistic symbols complete the upper zone. 
Two only of the symbols remain, those of Matthew and John. 




Figure 4. — Centee of Apse Mosaic, Church of SS. Cosma e 

Damiano, Rome. 



In the lower zone were originally the four and twenty elders 
holding out their crowns, but of these some of the hands with 
the crowns alone remain. 

Fortunately the apse has suffered less. At the sumniit is the 
hand of God stretched out from heaven with the wreath or 
crown. In the centre appears a full-length figure of Christ, 
holding a roll of parchment in his left hand and with the right 



BOMAN CHURCH MOSAICS 263 

arm extended at full length. The background of the apse is a 
deep blue, and behind and below the figure of Christ are red 
and gold clouds. Below at the right and left SS. Peter and 
Paul present to him the two martyred Arabian physicians, SS. 
Cosmas and Damian, who hold crowns in their veiled hands. 
Then come at the left Pope Felix IV, holding a model of 
the church, and at the right S. Theodore. The figure of Felix 
was restored in the seventeenth century. A palm tree, emblem 
of victory, closes the scene at each end. On the one at the left 
is the bird Phoenix. 

Around the lower part of the apse run two narrow bands. 
The upper has in the centre, just under the figure of Christ in 
the main scene, the Lamb of God standing on the Rock or 
Mount from which flow the four Rivers of Paradise. The 
Lamb, as in all scenes of this and later date, has the nimbus. 
Twelve sheep proceeding from the two cities at each end fill 
the rest of the zone. This is a very common design for the 
lower part of the apse. 

Below runs the inscription in letters of gold on a dark 
background which takes up as much space as the picture of the 
sheep and cities above : 

AYLA DEI CLARIS RADIAT SPECIOSA METALLIS 
IN QVA PLYS FIDEI LYX PRETIOSA MICAT 
MARTYRIBYS MEDICIS POPYLO SPES CERTA SALYTIS 
FECIT ET EX SACRO CREYIT HONORE LOCYS 
OPTYLIT HOC DOMINO FELIX ANTISTITE DIGNYM 
MYNYS YT AETHERIA YIYAT IN ARCE POLL 

9. Cappella di S. Venanzio in Battistero Lateranense : Tribune 
Arch and Apse.^ 

Pope John IV (640-642) caused the mosaics in this chapel 
to be made. The wall above the apse was pierced by three 
windows, now closed by masonry. There are two zones in the 
wall mosaic. The first has the two cities at the ends, and then 
two panels, separated by the windows, in which are the evange- 

1 Cf. De Rossi, op. cit. tav. xix ; Garrucci, op. cit. lY, tav. 272-273. 



264 WILLIAM WARNER BISHOP 

listic symbols, two in each panel (order, Luke, Matthew, Mark, 
John). The lower zone has at each side of the apse four stand- 
ing figures of mart3^rs whose relics had been brought here by 
Pope John IV. The names written above each are, beginning 
at the left, SS. Paulianus, Telius, Asterius, Anastatius, Maurus, 
Septimus, Antiochianus, Caianus. 

The apse mosaic is divided into three fields. In the centre 
of the upper is the bust of Christ between two busts of augels, 
all three surrounded by clouds. Below, directly beneath the 
Christ, stands the Virgin in an attitude of prayer. On the left 
hand stand SS. Paul, John the Evangelist, Venantius, and Pope 
John IV, the latter holding a model of the church ; each of the 
others holds a book. On the right are SS. Peter and John the 
Baptist, holding crosses, S. Domnius, and Pope Theodore (642- 
649), who probably finished the work. The last two hold 
books. Below is this inscription : ^ 

MARTYRIBVS CHRISTI DOMINI PIA YOTA lOANNES 

REDDIDIT ANTISTES SANCTIFICANTE DEO 

AC SACRI EONTIS SIMILI FVLGENTE METALLO 

PROVIDVS INSTANTER HOC COPVLAVIT OPVS 

QVO QVISQVIS GRADIENS ET CHRISTVM PRONVS ADORANS 

EFEVSASQYE PRECES MITTIT AD AETHRA SVAS. 

10. S. Prassede : Tribune Arch and Apse.^ 

These mosaic paintings are of the same date as those of the 
triumphal arch, 817-824. The general plan of the wall and apse 
design is similar to that of SS. Cosma e Damiano, although the 
execution is much inferior. In the centre of the wall above the 
apse is the Lamb of God on the throne with a cross above. 
The throne stands between seven lamps burning on tall can- 
delabra. At either side are two angels and the evangelistic 
symbols (order, Matthew, Mark, John, Luke). Below are the 
twenty-four elders, twelve on each side of the arch, robed in 
white and holding crowns in their hands. 

1 1 give the words printed by De Rossi (op. cit. ad tav. xix), instead of the 
readings of the modern inscription, which has suffered from restorations. 
2 Cf . De Rossi, op. cit. tav. xxv ; Garrucci, op. cit. IV, tav. 286. 



BOMAN CHURCB MOSAICS 



265 



The apse mosaic is like that of SS. Cosma e Damiano in that 
the Christ stands on the clouds in the centre, while SS. Peter 
and Paul below present to him two saints, this time women, 
SS. Prassede and Pudenziana. Pope Paschal is on the left and 
S. Zeno on the right. Below are the Lamb of God on the 
Mount and the twelve sheep coming from the two cities. The 
inscription reads as follows : 

EMICAT AVLA PIAE VARUS DECORATA METALLIS 
PRAXEDIS DOM [NO SVPER AETHRA PLACENTIS HONORE 
PONTIFICIS SVMMI STVDIO PASCHALIS ALVMNI 
SEDIS APOSTOLICAE PASSIM QVI CORPORA CONDENS 
PLVRIMA SANCTORVM SVBTER HAEC MOENIA PONIT 
FRETVS VT HIS LIMEN MEREATVR ADIRE POLORVM. 




EiGURE 5. — Mosaic in the Church of S. Maria in Domnica, Rome. 

11. S. Maria in Domnica, or Delia Navicella : Tribune Arch 
AND APSE.l (Fig. 5.) 

These mosaics also were executed by order of Pope Paschal I, 
who restored the church. They were afterwards restored by 
1 Cf. De Rossi, op. cit. tav. xxiii ; Garrucci, op. cit. IV, tav. 293. 



266 WILLIAM WABNER BISHOP 

Clement XI (1700-1721), but the design remains as in the 
original. There are two zones in the arch. In the centre of 
the upper one Christ is seated on a throne, surrounded by an 
aureole ; at either side a standing angel, and then the twelve 
apostles, six on each side, each carrying a symbol. A rich floral 
design covers the ground. In each of the two lower corners is 
a tall standing figure pointing to the Christ above. They are 
probably two prophets. 

In the apse we have a new feature in the central figure, the 
seated Virgin who holds the infant Christ in her lap. A mul- 
titude of adoring angels surround her. Pope Paschal, distin- 
guished as still living by the square nimbus, kneels at her feet. 
Below is the inscription : 

ISTA DOMVS PRIDEM FVERAT CONFRACTA RVINIS 
NUNC RVTILAT IVGITER VARUS DECORATA METALLIS 
ET DECVS ECCE SVVS SPLENDET SEV PHOEBVS IN ORBE 
QVI POST FVRVA FVGANS TETRAE VELAMINA NOCTIS 
VIRGO MARIA TIBI PASCHALIS PRAESVL HONESTVS 
CONDIDIT HANG AVLAM LAETVS PER SAECLA MANENDAM. 

12. S. Marco in Pallacine : Tribune Arch and Apse.^ 

The mosaics in this church are the latest of our series, having 
been ordered by Pope Gregory IV (827-844). The figures 
are little more than caricatures of the noble representations of 
an earlier age. The arch has two zones. Above is a bust of 
Christ giving the benediction, and at either side the symbols 
of the evangelists (order, Luke, Matthew, John, Mark). Be- 
low are tall standing figures of S. Paul on the left, and S. Peter 
on the right. 

At the top and centre of the apse appears the hand of God 
holding the crown. Below in the centre a full-length figure of 
Christ, blessing with the right hand and holding an open book 
with the left. Three figures are on each side of him, the last 
of whom on the left is Pope Gregory IV, with the square nim- 
bus. Each one stands on a sort of platform on which his name 

1 Cf . De Rossi, op. cit. tav. xxviii ; Garrucci, op. cit. IV, tav. 294. 



ROMAN CHURCH MOSAICS 



267 



is written. Below is the Lamb on the Mount, the procession 
of sheep and the two cities. The following inscription fills the 
remaining space : 

VASTA THOLI PRIMO SISTYNT FVNDAMINE FVLCHRA 
QVAE SALOMONIACO FVLGENT SVB SIDERE RITV 
HAEC TIBI PROQVE TVO PERFECIT PRAESVL HONORE 
GREGORIVS MARGE EXIMIO CVI NOMINE QVARTVS 
TV QYOQYE POSCE DEVM VIVENDI TEMPORA LONGA 
DONET ET AD CAELI POST FVNVS SIDERA DVCAT. 




Figure 6. — Mosaic on Arch in the Church of bIS. Aereo ed 

AcHiLLEO, Rome. 



13. SS. Nereo ed Achilleo : Tribune Arch.i (Fig. 6.) 

The apse mosaic in this church is gone and has been replaced 
by a fresco. The tribune arch decorations date from the time 
of Pope Leo III (795-816). There is a long upper zone, but in 
the place of figures in the lower corners are found floral patterns. 
The centre of the picture is filled with the scene of the Trans- 
figuration. A full-length figure of Christ surrounded by an 

1 Cf. De Rossi, op. cit. tav. xxii ; Garrucci, op. cit. IV, tav. 284. 



268 



WILLIAM WABNEB BISHOP 



aureole is in the centre, while Moses and Elias stand beside him. 
The prostrate figures of the three apostles follow, S. Peter on 
the left, and SS. John and James on the right. There is also 
a group at each end ; at the left the Annunciation, and at the 
right the Virgin with the infant Christ in her arms, while an 
angel stands behind. 

14. S. Pudenziana: Apse.^ (Fig. 7.) 

This mosaic is probably the oldest, as it certainly is the most 
interesting, of those in Roman churches. The church goes 




Figure 7. — Mosaic in the Church of S. Pudenziana, Rome. 

back to the time of Siricius (384-392), and probably the mosaic 
is contemporary with that pope. It has, however, suffered 
much from restorations, and it is only in recent years that its 
great antiquity has been generally admitted. 

The apse originally contained three zones. In the centre of 
the upper part was the hand of God reaching down the crown 
from the clouds. Below it stands a Latin cross, richly orna- 
1 Cf. De Rossi, op. cit. tav. x ; Kraus, op. cit. I, frontispiece. 



BOM AN CHURCH MOSAICS 269 

mented with jewels, above the head of the Christ in the scene 
below. At either side are the evangelistic symbols in the 
clonds (order, Matthew, Mark, Luke, John). The middle 
zone has a background of buildings which present interesting 
architectural features. In the centre, Christ sits on a raised 
throne, which is adorned with precious stones. An open book 
rests on his knee, and is supported with the left hand, while 
the right is raised in the act of benediction. Seated figures of 
the apostles are on either side. The last one at each end is 
no longer visible owing to restorations of the church in 1588. 
Two standing female figures, SS. Pudenziana and Prassede, 
are placing crowns on the heads of the two chiefs of the 
apostles. The third zone has almost entirely disappeared. 
In the centre was the Lamb on the Mount, and possibly the 
sheep, as in later pictures. 

15. Cappella or Exedra of SS. Rufina e Secunda (Portico di 
Cappella di S. Venanzio) : Apse.i (Fig. 8.) 

This small apse is filled with a beautiful floral design of gold 
on a blue background, which dates from the end of the fourth 
century. At the summit of the apse is a semicircle, in which 
stands a lamb between four doves. Below this ring, and half 
hidden in the maze of the floral pattern, are six Latin crosses. 

The Chapel was the ancient entrance to the Lateran Baptis- 
tery. The design of the mosaic, which is similar to that in the 
tomb of Galla Placidia at Ravenna, was afterwards copied in 
the large apses of S. Clemente and S. Maria Maggiore. 

16. S. Agnese Fuori : Apse.2 

Constantine the Great is said to have founded this church, but 
its present form is due to the restorations of Pope Honorius I, 
(625-639). The apse alone contains mosaics. At the summit 
is the hand of God extending from the clouds the martyr's 
crown. Below this are two broad bands of blue with gold 
stars. In the centre stands the saint, clothed magnificently, 

1 Cf. De Rossi, op. cit. tav. xi ; Garrucci, op. cit. IV, tav. 283. 

2 Cf. De Rossi, op. cit. tav. xviii ; Garrucci, op. cit. IV, tav. 274. 



270 



WILLIAM WARNER BISHOP 



and wearing a crown and rich jewels. Flames and a sword at 
her feet signify the manner of her martyrdom. Above her 
head is the inscription SCA agnes. At the left stands Pope 
Honorius holding a model of the basilica. At the right is 




Figure 8. — Mosaic in the Exedra of SS. Rupina e Secunda, Rome. 

another Pope, probably Symmachus (Armellini, Kraus). The 
following inscription fills the remaining space : 

AYREA CONCISIS SVRGIT PICTVRA METALLIS 
ET COMPLEXA SIMYL CLAVDITVR IPSA DIES 
FONTIBUS E NIVEIS CREDAS AVRORA SVBIRE 
CORREPTAS NVBES RORIBVS ARVA RIGANS 
VEL QVALEM INTER SIDERA LVCEM PROEERET IRIM 
PVRPVREVSQVE PAVO IPSE COLORE NITENS 
QYI POTVIT NOCTIS YEL LVCIS REDDERE FINEM 
MARTYRVM E BVSTIS HINC REPPVLIT ILLE CHAOS 
SYRSVM VERSA NVTV QYOD CVNCTIS CERNITVR VNO 
PRAESVL HONORIYS HA EC YOTA DICATA DEDIT 
VESTIBYS ET FRACTIS SIGNANTYR ILLIYS ORA 
LYCET ET ASPECTY LYCIDA CORDA GERENS. 



ROMAN CHURCH MOSAICS 271 

17. S. Teodoro: Apse.i 

The small round edifice at the foot of the Palatine was 
founded before the time of Gregory the Great (590-604), 
and has been restored at least twice, under Nicholas V in 
1447, and under Clement XI in 1674. There is some differ- 
ence of opinion among investigators regarding the date of the 
mosaic. The weight of evidence appears to be for the time of 
Hadrian I (772-795). The mosaic is on the vaulting of the 
apse at the rear of the church. 

Above is the hand of God and the wreath. In the centre, 
Christ is seated on a globe with a sceptre in his left hand and 
blessing with the right. At the right, S. Peter presents to 
him S. Theodore, who holds the martyr's crown. This figure 
was restored in 1447. At the left, S. Paul presents another 
saint, possibly S. Cleonicus. 

18. S. Stefano Rotondo: Apse of Chapel of SS. Primo e 
Feliciano.2 

This apse is in a small chapel, originally a portico, on the east 
side of this famous round church. The mosaic was ordered by 
Pope Theodore I (642-649). Above is the hand extending the 
wreath from heaven. Below it is a small bust of Christ, sur- 
rounded by a circle, and resting on the top of a jewelled Latin 
cross, which fills the centre. The full-length figures of the 
two saints, Primus and Felicianus, are at the left and right. 
Their names are inscribed on a level with their heads. Below 
is this inscription : ^ 

aspicis aVRATVM CAELVSTi cvlmine teetvm 
astrifeRYMQYE micans praeclaro lvmine fvltvm. 

19. • S. Cecilia in Trastevere : Apse.* 

Like the mosaics in S. Prassede and in S. Maria in Domnica, 
this one in S. Cecilia dates from the time of Paschal I, and 

1 Cf. De Rossi, op. cit. tav. xvii ; Garrucci, op. cit. IV, tav. 252. 

2 Cf. De Rossi, op. cit. tav. xvii ; Garrucci, op. cit. IV, tav. 274 
^ Supplied in part from De Rossi, Inscrip. Christ. 2, p. 440. 

* Cf . De Rossi, op. cit. tav. xxiv ; Garrucci, op. cit. IV, tav. 292. 



272 WILLIAM WARNER BISHOP 

bears his monogram. The general character of the figures is 
very much like that of the mosaics of these churches. There 
are three zones. In the upper we have the hand and wreath. 
Then a row of standing figures ; these are, from left to right, 
Pope Paschal (square nimbus), holding a model of the church; 
a virgin (probably S. Cecilia); S. Paul ; Christ, blessing with 
the right hand ; S. Peter ; a young man, holding the martyr's 
crown (probably S. Valerianus); and another virgin, with the 
crown in her hand. A palm closes the scene at either end, 
with the Phoenix in the one at the left. 

Below are the cities Bethlehem and Jerusalem, the twelve 
sheep, and the Lamb on the Mount, from which flow the Four 
Rivers. The inscription is as follows : 

HAEC DOMVS AMPLA MICAT VARUS FABRICATA METALLIS 
CONDIDIT IN MELIVS CONFRACTA SVB TEMPORE PRISCO 
HANG AVLAM DOMINI FORMANS FVNDAMINE CLARO 
• AVREA GEMMATIS RESONANT HAEC DINDIMA TEMPLI 
LAETVS AMORE DEI HIC CONIVNXIT CORPORA SANCTA 
CAECILIAE ET SOCIIS RVTILAT HIC FLORE lYVENTVS 
QYAE PRIDEM IN CRVPTIS PAVSABANT MEMBRA BEATA 
ROMA RESVLTAT OYANS SEMPER ORNATA PER AEVVM. 

20. S. Costanza : Lunettes and Lateral Vaults. ^ (Fig. 
9.) 

Over the doors of this church are two lunettes which are 
covered by extremely rude mosaics. Some attempt has been 
made in them to copy the coloring of the fine mosaics in the 
aisle. They date from the eighth century. In one we have 
God seated on a globe presenting with his left hand the law to 
Moses. In the other we have Christ standing and blessing 
with the right hand, while below is the Mount with the Four 
Rivers. SS. Peter and Paul stand on either side, one bearing 
a scroll with the words, dominvs pacem dat. At each end is 
a hut with a palm behind it. Four sheep stand below. It 
would be hard to imagine a greater contrast than that between 

1 Cf. De Rossi, op. cit. tav. ii-iv ; Garrucci, op. cit. IV, tav. 205-207. 



ROMAN CHURCH MOSAICS 



273 



these mosaics and those on the vaulting of the round aisle or 
colonnade. 

This round church was originally erected as a baptistery, 
and later, about 354, it became the tomb of Constantia, daughter 
of the Emperor Constantine, from whom its modern name is de- 
rived. Of the sumptuous and elaborate decorations in mosaic 




Figure 9. — Mosaic in the Church of S. Costanza, Rome. 

which originally covered its dome and other parts only the 
scenes on the vault over the aisle between the inner circle of 
columns and the outer wall have been preserved. There are 
sketches of the lost portions which enable us to form some idea 
of the original designs, but here we are concerned only with 
W"hat remains. The vaulting is divided into eleven compart- 



274 WILLIAM WARNER BISHOP 

ments. These are filled with conventional designs of rare 
beauty. Fruits, flowers, birds, fishes, even domestic utensils, 
male and female heads, and figures of Cupid and Psyche occupy 
the vacant spaces in geometrical designs, in which squares, 
circles, spirals, and crosses are the chief elements. There are 
two representations of a wine press, oxen drawing the grapes, 
etc., and in the centre of these particular panels are busts. 
The background is decorated with grapevines full of birds and 
Cupids. There is nothing in this decoration which is not pagan, 
and still nothing which might not have a purely Christian 
interpretation. 

21. Oratorio di S. Giovanni Evangelista, Lateran Baptistery: 
Central Vault and Lunettes. ^ 

The mosaics in this chapel are from the pontificate of Hilary 
(461-468). They are found on the vaulted ceiling and the 
upper part of the walls, and on lunettes. In the centre of the 
ceiling is a square within which is a wreath of flowers. Within 
this stands the Lamb. Floral bands radiate to the four corners, 
while birds, in eight groups of two each, are between these 
bands on the ceiling near the walls. The combination of 
flowers, birds, and laurel wreaths is very beautiful against 
the gold background. The lunettes also contain mosaics of 
floral and geometrical designs. 

22. Cappella di S. Zenone, S. Prassede: Central Vault 
AND Walls. 2 

These mosaics, like the others in this church, are from the time 
of Paschal I (817-824). The vaulted ceiling and upper walls 
of the chapel are covered with mosaics. The entrance to the 
chapel, on the right aisle of the church, is decorated with a 
series of medallions arranged in the form of an arch above an 
arch, with the bust of Christ as the keystone of the upper and 
that of the Virgin of the lower arch. There are medallions of 
eight female and two male saints on the lower arch, and of the 

1 Cf. De Rossi, op. cit. tav. xiv ; Garrucci, op. cit. IV, tav. 238. 

2 Cf. De Rossi, op. ciY. tav. xxvi-xxvii ; Garrucci, op. cit. IV, tav. 287-29L 



ROMAN CHURCH MOSAICS 275 

twelve apostles on the upper arch. On the spandrils of the 
upper arch are two medallions of men. 

In the interior, the vaulted ceiling pictures a medallion of 
Christ, supported by four angels, each of whom springs from a 
corner of the chapel. On the walls are scenes of SS. Peter and 
Paul, three martyred virgins with their crowns, three apostles 
each carrying a book, and smaller scenes of Christ between 
two saints, the Lamb on the Mount, etc. The whole is 
extremely " Byzantine " in character. 

In recapitulation we may say broadly that the triumphal 
arch, of which we now have only four examples covered with 
mosaics of our period, is large and has several zones. The two 
earlier ones, S. Maria Maggiore and S. Paolo Fuori, have in the 
upper zone the signs of the evangelists and the representation 
of Christ in the centre, in one case a cross enthroned and in the 
other the actual figure. The lower zones in the arch of 
S. Maria Maggiore present Biblical scenes with the exception 
of the picture of the enthroned Christ with the Virgin seated 
beside him, which is probably a restoration. In S. Paolo Fuori 
the other scenes are apocalyptic, as are those in S. Prassede. The 
mosaic painting on the arch of S. Lorenzo divides with the in- 
scription the attention of the spectator, and, like the inscrip- 
tion, honors the patron saint of the church by bringing him 
into connection with Christ and the two chiefs of the apostles. 

The mosaics on the tribune wall or arch should be studied in 
connection with those of the apse immediately beneath and be- 
side them. Here are always at least two distinctly marked 
fields. The arches of SS. Cosma e Damiano and S. Prassede 
are similar in design, representing scenes from the Apocalypse; 
i.e., the Lamb enthroned between the seven candelabra, the 
evangelistic symbcts, and the twenty-four elders. The arch in 
the Cappella di S. Yenanzio has the evangelistic symbols and 
the figures of the martys buried in the chapel. SS. Nereo ed 
Achilleo gives two Biblical scenes, the Transfiguration and the 
Annunciation, and also the Virgin and infant Christ. S. Maria 



276 WILLIAM WARNER BISHOP 

in Domnica presents a single purpose ; the Christ enthroned in 
the upper zone is the central figure toward which the apostles 
turn and the two prophets point. Similarly in S. Marco the 
bust of Christ is the centre of the evangelistic symbols and the 
Apostles Peter and Paul. 

In the apse we see distinctly the triumph of the symbolical 
over the Biblical. The Apocalypse furnishes the greater part 
of whatever Biblical ideas appear. In all but the two chapels 
of the Lateran Baptistery, S. Prassede, and S. Maria in Dom- 
nica the summit of the apse is occupied by the Hand and 
Crown. The central figure is generally taller than the others, 
and in all but S. Agnese, S. Maria in Domnica, and the Exedra 
of SS. Rufina e Secunda it is Christ, represented either as 
standing or sitting or in bust form. The rest of the apse is 
generally filled by figures of SS. Peter and Paul, the two pa- 
tron saints of Rome, the particular patron saint of the church 
with other saints connected with him by legend or history, and 
the founder or restorer of the church. In the larger apses the 
procession of sheep appears below, and in all but three cases a 
metrical inscription completes the mosaic. 

The decoration of chapels is decidedly different because of 
the great diversity of form between a flat wall or a rounded 
apse which can be seen only from in front, and a small, vaulted 
space which may be seen from many angles. In vault mosaics 
patterns of great beauty are found in S. Costanza and the Ora- 
torio di S. Giovanni Evangelista. But interesting as they are, 
they lie somewhat outside the scope of this paper. 

We have seen that but one church in Rome confines its rep- 
resentations to those Biblical scenes, which, from the authors 
of the fifth and earlier centuries, we might expect to discover 
in large numbers ; nor are these scenes in S. Maria Maggiore in 
accord with any of the schemes set forth in the literature. But 
we must remember that in this same church alone have the 
panel mosaics of the nave been preserved. Architecturally 
these panels lend themselves to the portrayal of separate inci- 
dents far better than the more prominent arches and the apse, 



ROMAN CHURCH MOSAICS 277 

which are of a form somewhat awkward for the composition of 
groups of figures in action. And it is only by the device of 
distinctly marked fields that Biblical scenes are represented on 
the arch of S. Maria Maggiore, and because of the smallness of 
the tribune arch of SS. Nereo ed Achilleo (which has hardly 
room for more than one zone), that we have the three groups 
of the Transfiguration, the Annunciation, and the Virgin and 
Child. It is therefore only natural that symbolical and apoca- 
lyptic scenes in which not action but attributes are involved 
should occupy the fields toward which the worshipping congre- 
gation directed their looks. 

A classification of these figures and symbols by position and 
approximate date is here given. The Roman numerals refer to 
the century in which the mosaic was executed. 

Christ. In every mosaic painting except S. Agnese and one 
of the apses in S. Costanza we have the Christ, generally as 
the centre around which the other figures are grouped. We 
have the 

Bust (centre) : in S. Paolo, V, arch of triumph ; S. Marco, IX, 

tribune wall ; S. Yenanzio, VII, apse ; S. Stefano, VII, apse. 
Full length figure standing (centre): S. Prassede, IX, arch of 

triumph ; apse ; SS. Cosma e Damiano, VI, apse ; S. Marco, 

IX, apse ; S. Cecilia, IX, apse ; SS. Nereo ed Achilleo, 

IX, tribune wall ; S. Costanza, VIII, lunette. 
Enthroned (centre) : S. Maria in Domnica, IX, tribune arch ; 

S. Pudenziana, IV, apse. 
Seated on globe (centre) : S. Lorenzo, VI, arch of triumph ; 

S. Teodoro, VIII, apse. 
Lamb enthroned: SS. Cosma e Damiano, VI, tribune wall; S. 

Prassede, IX, tribune wall. 
Lamb on the Mount: S. Pudenziana, IV, apse; SS. Cosma e 

Damiano, VI, apse ; S. Prassede, IX, apse ; S. Marco, IX, 

apse ; S. Cecilia, IX, apse. 
Lamb (without other symbols): SS. Rufina e Secunda, IV, 

apse ; Oratorio di S. Giovanni Evangelista, V, ceiling. 



278 WILLIAM WABNER BISHOP 

Most of the figures of Christ in both the bust and the full- 
length form are in the act of benediction. A nimbus always 
surrounds the head. In SS. Paolo Fuori, Lorenzo, and Teodoro, 
he has the sceptre in the left hand ; in SS. Pudenziana, Cosma e 
Damiano, Nereo ed Achilleo, Cecilia, and Marco a scroll or an 
open book. 

The Virgin Mary is depicted in the Biblical scenes on the 
arch of S. Maria Maggiore, but not again until the seventh 
century in the Cappella di S. Venanzio, where she stands under 
the bust of Christ in an attitude of prayer. The church of 
SS. Nereo ed Achilleo, IX, shows the Virgin and Child and the 
Annunciation as end pieces in the tribune arch, while in S. 
Maria in Domnica, IX, the Virgin and Child occupy the centre 
of the apse, surrounded by the angelic host and worshipped 
by the reigning Pope, Paschal I. 

SS. Peter and Paul. These heads of the apostolic church 
and patron saints of the eternal city appear in most of the 
mosaic paintings. Generall}^ S. Peter is distinguished by his 
baldness, a square-cut white beard, and the keys, while S. Paul 
has a pointed beard, and either the sword or a scroll. They 
are generally found on either side of Christ, or some other cen- 
tral figure, while twice they occupy prominent positions on the 
triumphal arch. In every case but S. Lorenzo Fuori, S. Paul 
is at the right hand of the central figure and S. Peter at the 
left. They occur in the apse in SS. Pudenziana, IV, Cosma e 
Damiano, VI, Venanzio, VII, Teodoro, VIII, Costanza, VIII, 
Cecilia, IX, Prassede, IX, on the tribune wall in S. Marco, 
IX, and on the arch of triumph in S. Maria Maggiore, S. 
Paolo Fuori, and S. Lorenzo Fuori, VI. They are found with 
the ten other apostles on the arch of triumph in S. Prassede, 
the tribune wall in S. Maria in Domnica, both ninth century, 
and on the apse of S. Pudenziana, IV. 

The Patron Saint of the Church (other than the Virgin) 
is placed on the triumphal arch in S. Lorenzo Fuori, VI, and 
in S. Paolo Fuori, V, but in neither case as the central figure. 
In one church only, S. Agnese, VII, does the patron saint 



ROMAN CHURCH MOSAICS 279 

occupy the central position in the apse, although in SS. Puden- 
ziana, IV, Cosma e Damiano, VI, Teodoro, VIII, Prassede, IX, 
Cecilia, IX, and Marco, IX, the patron saint is introduced in a 
position of honor in the apse, and in the chapels of S. Venanzio, 
VII, and Primo e Feliciano, VII, the saints to whom the chapel 
is dedicated figure in the apses. 

Other saints are found depicted in the church mosaics in 
addition to the apostles, the patron saints, and the Virgin. 
Generally they are those who have some connection with the 
patron saint, either by similarity of office or suffering, or by 
locality, as, for example, SS. Stephen and Hippolytus in S. 
Lorenzo ; S. Stephen being another deacon made illustrious by 
martyrdom, and S. Hippolytus being buried in the cemetery 
near at hand. So S. Pudenziana and S. Prassede are connected 
in the apses of their churches, while in the mosaics of the 
Chapel of S. Venanzio are martyrs whose relics lie in that spot. 

The Apocalyptic Symbols of the man, lion, ox, and eagle, 
connected early in the history of the church with the evange- 
lists Matthew, Mark, Luke, and John, are but once found in the 
apse. They are regularly in the upper zone of the arch sur- 
rounding the figure or symbol of Christ. The variations in 
order noted in the description may possibly have some sig- 
nificance. These symbols occur on the arch of triumph of 
S. Maria Maggiore, V, S. Paolo Fuori, V, the tribune wall of 
SS. Cosma e Damiano, VI, S. Venanzio, VII, S. Prassede, IX, 
S. Marco, IX, and on the apse of S. Pudenziana, IV. 

Other symbols are : 

1. The Cross : always of the Latin form, and decorated with 

gems, in the centre of the triumphal arch of S. Maria 
Maggiore, V, and in the apse of S. Pudenziana, IV, SS. 
Rufina e Secunda, IV, Cappella di Primo e Feliciano, VII. 

2. The Hand, extending the martyr's Crown: apse only; in 

S. Pudenziana, IV, S. Agnese, VII, Cappella di SS. Primo 
e Feliciano, VII, S. Teodoro, VIII, S. Cecilia, IX, S. Pras- 
sede, IX, and S. Marco, IX. 



280 WILLIAM WAENEE BISHOP 

3. The Seven Candelabra: tribune wall, SS. Cosma e Damiano, 

yi, S. Prassede, IX. 

4. The Sheep : representing the church, generally twelve in 

number, either coming from or standing near the cities 
Jerusalem and Bethlehem, arch of S. Maria Maggiore, 
V, apse of S. Pudenziana, lY, SS. Cosma e Damiano, VI, 
S. Prassede, IX, S. Cecilia, IX, S. Marco, IX, S. Costanza, 
VIII. 
6. The Two Cities : signifying the Gentile and Jewish origin 
of the church. These are found on the triumphal arch in 
S. Maria Maggiore, V, S. Lorenzo, VI, on the tribune 
wall in S. Venanzio, VII, and on the apse of SS. Cosma 
e Damiano, VI, S. Cecilia, IX, S. Prassede, IX, S. Marco, 
IX. 

6. The Palm: signifying victory, in two cases with the Phoenix 

in its branches. Apses of SS. Cosma e Damiano, VI, 
S. Prassede, IX, S. Cecilia, IX, and S. Costanza, VIII. 

7. The Martyr s Crown : carried by the person depicted in the 

veiled hand. 

8. The Four Rivers of Paradise : found flowing from the 

Mount on which stands the Lamb of God. 

9. The River Jordan: SS. Cosma e Damiano, VI, and S. 

Prassede, IX. 

The twenty-four elders of the Apocalypse are shown on the 
triumphal arch of S. Paolo, V, the tribune arch of SS. Cosma e 
Damiano, VI, and S. Prassede, IX. The triumphal arch of 
the latter church is wholly taken up with scenes supposed to 
represent the saints in Paradise. 

Popes, both those living at the time the mosaic was made, 
and earlier ones, are depicted in the apses of certain churches. 
They are regularly the founders or restorers of the church. 
Living popes are distinguished by the square nimbus. There 
are representations of Popes in S. Agnese, VII, S. Venanzio, 
VII, S. Prassede, IX, S. Maria in Domnica, IX, S. Cecilia, IX, 

5. Marco, IX. 



BOM AN CHURCH MOSAICS 281 

An important feature of the mosaic decoration of churches 
was the Inscription. We have the inscription covering a 
great portion of the wall space in S. Sabina, V, and in the arch 
of S. Lorenzo, VI. It should be remembered also that the in- 
scriptions are an integral portion of the apse decoration in most of 
the churches which we have been studying, and that they were 
originally much lighter and more legible than at present ; also 
that they were not darkened by the altar canopies as many are 
now. In addition to those given above, others no longer extant 
are given in De Rossi's Ins crip fiones christianae Urhis Romae^ 
vol. 2. They were found in S. Pietro in Yaticano, " in arcu 
maiore et abside " (2, p. 20, no. 6), ''in abside Sancti Petri 
super fontem" (^&^(i.), and "in trono Sci. Chrisogoni " (ibid. 
p. 152, no. 27) ; three in the church of S. Stefano rotondo, in 
addition to the one given above (ibid. p. 152), and one "in 
abside templi S. Petri ad vincula " (ibid. p. 134). They are 
of the same character as those already given in extenso^ and so 
are omitted. 

It would be interesting to pursue this subject further and to 
inquire into the relations of the facts set forth in the foregoing 
pages to the liturgy and the religious conceptions of the times 
in which these mosaics were made. They have already been 
carefully studied and described on their artistic and technical 
side by others, and but little remains to be done in that direc- 
tion. The limits of this paper, however, forbid such an inquiry, 
but it is hoped that some other person better equipped for the 
task may enter upon it. Certainly these stiff and erect saints 
and martyrs, these quaint and curious symbols, these glowing 
and badly composed verses, are witnesses to thought and belief 
worthy of as much attention as the written opinions and learned 
discussions of the time. 

William Wakner Bishop. 

Princeton Unitebsity Library. 



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